The kimono types of dyed kimonos(techniques) are as follows.
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The kimono types of dyed kimonos(techniques) are as follows.
|It is a technique for dyeing patterns on cloth. It is a typical Japanese dyeing method. It is a hand-dyeing method that uses starchy (rice-based) anti-dyeing agents. The name Yuzen is came from Miyazaki Yuzensai, a fan painter in Kyoto during the Edo period. During the Genroku era (1688-1704), fan painting by Yuzen was very popular, and Yuzen dyeing was the application of the fan painting style to kimono patterns. At present, the following three are the most famous, called the three major yuzen.|
|Kyo-Yuzen: This wonderfully dyed kimono is a condensation of the glamour and skill that typifies the Japanese kimono. The pattern is expressed as if it were a single painting, so that the whole pattern continues on the body and sleeves. Many bright colors are used to create gorgeous patterns.|
|Kaga-Yuzen: This hand-painted yuzen is produced mainly in Kanazawa City, Ishikawa Prefecture, and is characterized by its delicate and realistic floral patterns. The flowers are small, and the leaves of the trees are drawn with "insect-eaten leaves," using the blur technique to make the edges of the pattern darker and the center lighter. The colors used are called "Kaga Gosai" (five colors of Kaga), and they are calm. They are hand-dyed without embroidery, gilding, or shibori.|
|Tokyo-Yuzen: Also known as Edo Yuzen, it is a hand-painted type of yuzen dyed in Tokyo. It is characterized by the use of austere and simple colors such as indigo, brown, and white, and the patterns are small in size, giving a chic and modern impression.|
|The method of making one or several types of stencil, applying colors to each, and dyeing only the number of stencil is called "Katazome" (meaning "stencil-dyeing"). There are various techniques, but one method is to place the stencil on the white fabric, apply anti-dyeing paste on it with a spatula, and dye it after it dries. This method is mainly used for Komon and Bingata, where the paste remains white. In addition, there is the method of printing chintz with a brush containing dye on top of the stencil.|
|Kyogata Komon (Kyoto style Komon)|
|Kyoto-style komon is a gorgeous kimono that is dyed using a number of stencils and has the same atmosphere as hand-painted Kyoto-style yuzen. Since the number of stencils needed is the same as the number of colors in the design, two to thirty stencils are used, and sometimes more than a hundred.|
|Edo komon is a type of stencil dyeing developed in the Edo period. In Edo komon, a pattern so small that it appears plain from a distance is dyed with starch to prevent dyeing, and the area where the basic color is dyed in one color and the starch is removed becomes a white pattern. The dyeing process required a lot of water, which is why it was produced mainly in the Kanda River basin (the river that runs through Tokyo), where water is abundant. The Edo komon, "one paper pattern, one color dyeing," requires a lot of skill in both pattern carving and dyeing. The length of the stencil is about 45 cm, so to dye one kimono (about 11.5 m), it is necessary to move the stencil dozens of times. A skilled technique is required to send and starch the extremely shaped Edo komon without a minute of deviation.|
|Bingata is a dyeing technique in Okinawa prefecture characterized by vivid colors, bold color schemes, and simple shapes. It uses pigments and vegetable dyes to create a variety of patterns. In Bingata, starch is placed on a single stencil pattern to prevent dyeing, and the colors are then fingered with small brushes. What is noteworthy about Bingata patterns is that they do not have the sense of seasonality that mainland Japanese textiles have. In Bingata, the four seasons of spring, summer, autumn, and winter are depicted as a single pattern on a single piece of stencil. This is said to be a unique expression of Okinawa, which is warm all year round and has relatively mild seasonal changes.|
|When batik technique is used to dye fabric, the wax soaked areas are remain white. The pattern is drawn on the fabric with melted wax, and the wax is removed after dyeing. When the wax is removed after dyeing, and the cracks in the wax that prevent dyeing are filled with dye, resulting in a unique dyeing effect.|
|Routataki (Wax tapping technique)|
|This is a dyeing technique in which melted wax is contained in a brush, and while tapping the brush with a stick, granular splashes of wax are dropped onto the fabric to prevent dyeing, and then the fabric is dyed. Since this technique is applied to a wide area of basic fabric, it requires a high level of skill to make the size of the spots evenly tapping the brush.|
|Chusen (Pour Dyed)|
|"Chusen" dyeing is the most common Yukata dyeing method, and is currently produced mainly in Tokyo, Shizuoka, and Osaka. A stencil is used to apply starch on the part of the fabric not to be dyed, and after drying, a bank is made on the part to be dyed, and dye is poured inside the bank to dye the fabric. It is possible to dye with many colors at once. Since the dye drains to the underside of the fabric, the core of the fabric is dyed, and the pattern is vivid and does not fade easily.|
|Cotton cloth dyed with indigo is typical, and the pattern changes depending on how the thread is tied. It is a traditional craft of the Arimatsu and Narumi regions of Aichi Prefecture, and the entire process is done by hand, requiring a great deal of time and effort. At its peak, there were more than 100 types of tie-dyeing techniques and the combination of techniques produced a wide variety of patterns. Arimatsu is recognized as a "designated traditional craft" under the Law for the Promotion of Traditional Craft Industries, and even outside Japan, the word "SHIBORI" refers to Arimatsu.|